Hear What It Sounds Like When Philosopher Daniel Dennett’s Brain Activity Gets Turned into Music

The refine­ments of med­ical imag­ing tech­nolo­gies like fMRI have giv­en neu­ro­sci­en­tists, psy­chol­o­gists, and philoso­phers bet­ter tools with which to study how the brain responds to all sorts of stim­uli. We’ve seen stud­ies of the brain on Jane Austen, the brain on LSD, the brain on jazz improv…. Music, it seems, offers an espe­cial­ly rich field for brain research, what with its con­nec­tion to lan­guage, bod­i­ly coor­di­na­tion, math­e­mat­ics, and vir­tu­al­ly every oth­er area of human intel­li­gence. Sci­en­tists at MIT have even dis­cov­ered which spe­cif­ic regions of the brain respond to music.

And yet, though we might think of music as a dis­crete phe­nom­e­non that stim­u­lates iso­lat­ed parts of the brain, Brownell pro­fes­sor of phi­los­o­phy Dan Lloyd has a much more rad­i­cal hypoth­e­sis, “that brain dynam­ics resem­ble the dynam­ics of music.”

He restates the idea in more poet­ic terms in an arti­cle for Trin­i­ty Col­lege: “All brains are musical—you and I are sym­phonies.” Plen­ty of peo­ple who can bare­ly whis­tle on key or clap to a beat might dis­agree. But Lloyd doesn’t mean to sug­gest that we all have musi­cal tal­ent, but that—as he says in his talk below—“everything that goes on in the brain can be inter­pret­ed as hav­ing musi­cal form.”

To demon­strate his the­o­ry, Lloyd chose not a musi­cian or com­pos­er as a test sub­ject, but anoth­er philosopher—and one whose brain he par­tic­u­lar­ly admires—Daniel Den­nett. And instead of giv­ing us yet more col­or­ful but baf­fling brain images to look at, he chose to con­vert fMRI scans of Dennett’s brain—“12 giga­bytes of 3‑d snap­shots of his cranium”—into music, turn­ing data into sound through a process called “soni­fi­ca­tion.” You can hear the result at the top of the post—the music of Dennett’s brain, which is appar­ent­ly, writes Dai­ly Nous, “a huge Eno fan.”

In his paper “Mind as Music,” Lloyd argues that the so-called “lan­guage of thought” is, in fact, music. As he puts it, “the lin­gua fran­ca of cog­ni­tion is not a lin­gua at all,” an idea that has “after­shocks for seman­tics, method, and more.” Sev­er­al ques­tions arise: I, for one, am won­der­ing if all our brains sound like Dennett’s abstract ambi­ent score, or if some play waltzes, some operas, some psy­che­del­ic blues.…

You can learn much more about Lloyd’s fas­ci­nat­ing research in his talk, which sim­pli­fies the tech­ni­cal lan­guage of his paper. Lloyd’s work goes much fur­ther, as he says, than study­ing “the brain on music”; instead he makes a sweep­ing­ly bold case for “the brain as music.”

via Dai­ly Nous

Relat­ed Con­tent:

This is Your Brain on Jazz Impro­vi­sa­tion: The Neu­ro­science of Cre­ativ­i­ty

The Neu­ro­science of Drum­ming: Researchers Dis­cov­er the Secrets of Drum­ming & The Human Brain

New Research Shows How Music Lessons Dur­ing Child­hood Ben­e­fit the Brain for a Life­time

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Act of Love: A Strange, Wonderful Visual Dictionary of Animal Courtship

As var­i­ous nature doc­u­men­taries over the years have made explic­it, the ani­mal king­dom pos­sess­es courtship rit­u­als of such yearn­ing and grace, they can make the erot­ic fum­blings of our species seem a very clum­sy dance indeed.

The above spot for Japan’s first con­dom man­u­fac­tur­er, Saga­mi Indus­tries, offers a vision of how humans might bring a lit­tle ani­mal feel­ing to their ten­der moments.

(It’s worth not­ing that while this delight is spon­sored by a con­dom com­pa­ny, humans are the only ani­mal to take pro­phy­lac­tic mea­sures to ward off sex­u­al­ly trans­mit­ted dis­eases and unwant­ed preg­nan­cies.)

Like actress Isabel­la Rosselli­ni, cre­ator of the mar­velous Green Porno series, direc­tor Greg Brunk­alla has an eye for both the fas­ci­nat­ing and the absurd.

But with­out Rossellini’s plain­spo­ken nar­ra­tion, this Act of Love remains mys­te­ri­ous, until the end, when the iden­ti­ty of the crea­tures the human dancers are embody­ing is revealed. Those of us who aren’t zool­o­gists will like­ly find that their cloth­ing pro­vides the clear­est clues up until that point.

Bisex­u­al behav­ior is ram­pant in the ani­mal world, but out­side of a not par­tic­u­lar­ly kinky-seem­ing pink-clad group, the five cou­ples in the ad are all het­ero­sex­u­al.

Sagami’s Eng­lish web­site takes a broad­er view, with in-depth reports on the sex­u­al prac­tices of 73 dif­fer­ent beasts, birds and insects. Tax­on­o­my, habi­tat, and size range are not­ed — a sci­en­tif­ic approach to what could very well serve as non-human online dat­ing pro­files.

Australia’s Superb Fairy Wrens are into open rela­tion­ships.

Lioness­es’ unabashed pref­er­ence for vir­ile young males gets them dubbed “true cougars.”

And E.B. White fans may find them­selves shocked by the vig­or of cou­pling orb weavers, seem­ing­ly the one fact of spi­der life Char­lotte refrained from explain­ing to her piglet friend, Wilbur :

After mat­ing, the male sud­den­ly sev­ers the mat­ing thread so that both he and the female end up dan­gling at sep­a­rate ends. This may look like a very abrupt part­ing of ways, but not so fast! The male imme­di­ate­ly re-strings his mat­ing thread and resumes his strum­ming. And despite hav­ing been cast off so sud­den­ly, the female again falls under the spell of his courtship vibra­tions, trans­fer­ring to the new mat­ing thread to mate a sec­ond time. As soon as they do so, the male sev­ers the thread once more so that the two spi­ders can go through the whole rou­tine again…and again and again and again. 

Explore Sagami’s entire col­lec­tion of not-so-pri­vate ani­mal lives here.

Relat­ed Con­tent:

Watch Isabel­la Rosselli­ni Embody the Ani­mal Kingdom’s Most Shock­ing Mater­nal Instincts in Mam­mas

Watch Fam­i­ly Plan­ning, Walt Disney’s 1967 Sex Ed Pro­duc­tion, Star­ring Don­ald Duck

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Tom Waits Makes a List of His Top 20 Favorite Albums of All Time

Sinatra Hours

What’s that? Exile on Main Street’s in your top 20 favorite albums of all time? Yeah, me too. How about Trout Mask Repli­ca? A lit­tle weird, that one, right? The Base­ment Tapes? Cool… So, uh, how about Bohemi­an-Mora­vian Bands? No? Nev­er heard of it? Seri­ous­ly?

Me nei­ther.

But there it is, the music of “Czech-Bavar­i­an bands that land­ed in Texas… music both sour and bit­ter, and picante, and float­ing above itself like steam over the ket­tle… like a wheel about to go off the road all the time… the most lilt­ing lit­tle waltz… accor­dion, sopra­no sax, clar­inet, bass, ban­jo and per­cus­sion.”

Sounds like the kind of thing Tom Waits would lis­ten to.

And that’s because it is, num­ber 12 on his list of top 20, to be exact, described with just a tiny taste of his idio­syn­crat­ic music writ­ing cour­tesy of The Guardian, who pub­lished his list in 2005 as part of a series “in which the great­est record­ing artists reveal their favourite records.”

Sure, Exile is on Waits’ list, as is the Cap­tain Beef­heart and Bob Dylan. And also Frank Sina­tra, nat­u­ral­ly, and Thelo­nious Monk, Lounge Lizards, Lit­tle Richard, James Brown…

Waits com­pares the expe­ri­ence of see­ing the God­fa­ther of Soul live to a “mass at St. Patrick’s Cathe­dral on Christ­mas… You’d been changed, your life is changed now… every­body want­ed to step down, step for­ward, take com­mu­nion, take sacra­ment… get close to the stage and be anoint­ed with his sweat, his cold sweat.”

He names a com­e­dy album by the late, great Bill Hicks, who was “like a rev­erend wav­ing a gun around.” Leonard Cohen “is a poet, an Extra Large one.” Marc Ribot is “a pros­thet­ic Cuban.” The Pogues “play like sol­diers on leave… whim­si­cal and blas­phe­mous, sea­sick and sac­ri­le­gious….” Sound like some­one you know? It sounds a bit like Tom Waits.

Put his top 20 in a blender and out comes Real Gone. Sort of.

In giv­ing us his list, he gives a dou­ble gift—an inspired col­lec­tion of music root­sy, avant-garde, jazz/blues/Americana, and Oth­er; and a series of mini-essays on the mer­its of each album, each one a mas­ter­ful exer­cise in con­ci­sion and ellip­ti­cal wit. See the full list below, and stop by The Guardian to read Waits’ com­men­tary on each album.

1 In the Wee Small Hours by Frank Sina­tra
2 Solo Monk by Thelo­nious Monk
3 Trout Mask Repli­ca by Cap­tain Beef­heart
4 Exile On Main Street by the Rolling Stones
5 The Sink­ing of the Titan­ic by Gavin Bry­ers
6 The Base­ment Tapes by Bob Dylan
7 Lounge Lizards by Lounge Lizards
8 Rum Sodomy and the Lash by the Pogues
9 I’m Your Man by Leonard Cohen
10 The Spe­cial­ty Ses­sions by Lit­tle Richard
11 Star­time by James Brown
12 Bohemi­an-Mora­vian Bands by Texas-Czech
13 The Yel­low Shark by Frank Zap­pa
14 Pas­sion for Opera Aria
15 Rant in E Minor by Bill Hicks
16 Prison Songs: Mur­der­ous Home Alan Lomax Col­lec­tion
17 Cubanos Pos­ti­zos by Marc Ribot
18 Houndog by Houndog
19 Pur­ple Onion by Les Clay­pool
20 The Deliv­ery Man by Elvis Costel­lo

We’ve added a Spo­ti­fy playlist with many of his favorite albums below. And if you dig Waits’ musi­cal taste, check out this list of his favorite art films.

Relat­ed Con­tent:

Tom Waits, Play­ing the Down-and-Out Barfly, Appears in Clas­sic 1978 TV Per­for­mance

The Tom Waits Map: A Map­ping of Every Place Waits Has Sung About, From L.A. to Africa’s Jun­gles

Tom Waits Names 14 of His Favorite Art Films: Felli­ni, David Lynch & More

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Radiooooo: A Musical Time Machine That Lets You Hear What Played on the Radio in Different Times & Places

The con­cept is pret­ty self explana­to­ry. Go to Radiooooo.com, pick a coun­try, pick a decade (from 1900 to Now), and then Radiooooo.com will rev up its time machine and serve up songs from that time and place. Instant­ly you can hear the radio music of 1930s Sudan, 1970s Rus­sia, and 1990s Brazil.

To learn more about Radiooooo.com, read the Indiegogo page that helped fund the orig­i­nal project. And one word of cau­tion, Radiooooo.com can take a lit­tle time to load and process things. So if you make your selec­tions and noth­ing hap­pens, give things a few moments, and all should work out.

via Boing Boing

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Iggy Pop & Josh Homme Walk You Through How They Wrote Their New Song, “American Valhalla”

For those who love to explore the minu­tia of song writ­ing and pro­duc­tion, Hrishikesh Hirway’s Song Exploder pod­cast is a god­send, and shows off the poten­tial and pow­er of this new media. Where else could one song get a 15 minute explo­ration of its mean­ing, writ­ing, and record­ing, and from–as per this episode–Iggy Pop and Josh Homme them­selves?

Iggy Pop, now 68 years old and with a voice more sepul­chral than ever, has returned with Post Pop Depres­sion, his 23rd album, his 17th as a solo artist. And accord­ing to this inter­view, it might just be his last. Homme, Queens of the Stone Age’s front­man, co-wrote and pro­duced the album with Pop, and it is fair to say the col­lab­o­ra­tion is sim­i­lar to those between David Bowie and Pop dur­ing the ‘70s. The instru­ment choice is odd and cre­ative, with rock clichés avoid­ed by two musi­cians who know them well.

In this episode, the two walk through the cre­ation of the album’s cen­ter­piece track “Amer­i­can Val­hal­la,” start­ing with Homme’s “Shit­ty Demo” (lit­er­al­ly the title of the instru­men­tal he sent to Pop) and delv­ing into the lyric writ­ing, Pop’s thoughts about vet­er­ans, mor­tal­i­ty, the after­life, and that final line, “I’ve noth­ing but my name.” Sure, Pop says it’s a char­ac­ter speak­ing, but it sounds a bit like an epi­taph.

There’s many more sur­pris­es in this mini doc that we won’t spoil. Be sure to check out Song Exploder’s oth­er episodes as well. Even if you’ve nev­er heard of the song at the begin­ning, you’ll know it inside out by the end.

Relat­ed Con­tent:

From The Stooges to Iggy Pop: 1986 Doc­u­men­tary Charts the Rise of Punk’s God­fa­ther

Iggy Pop Reads Walt Whit­man in Col­lab­o­ra­tions With Elec­tron­ic Artists Alva Noto and Tar­wa­ter

Iggy Pop Reads Edgar Allan Poe’s Clas­sic Hor­ror Sto­ry, “The Tell-Tale Heart”

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Vincent Price Reads the Poetry of Shelley; Ralph Richardson Reads the Poetry of Coleridge

Many of us today think of Vin­cent Price as the face, and an even more so the voice, of mod­est­ly bud­get­ed mid­cen­tu­ry hor­ror movies. But over his long and pro­lif­ic career, he showed just what mul­ti­tudes he could con­tain. Price could ele­vate schlock, of course, but he could also rise to the chal­lenge of mas­ter­pieces: here on Open Cul­ture, we’ve pre­vi­ous­ly fea­tured his read­ings, on record and on cam­era, of the work of Edgar Allan Poe, the orig­i­nal mas­ter of the psy­cho­log­i­cal­ly trou­bling tale. Today, we have for you a set of recita­tions well out­side the realm of the scary: Price read­ing the poet­ry of Per­cy Bysshe Shel­ley, free on Spo­ti­fy (whose soft­ware you can down­load here).

Shel­ley, as any­one inter­est­ed in 19th-cen­tu­ry Eng­lish poet­ry knows, did­n’t have a long career, but the can­dle that burns quick­ly, as they say, burns bright. Before his death at the age of 29 in a storm on the Gulf of Spezia, he man­aged to write such immor­tal works as Music, When Soft Voic­es DieOzy­man­diasTo a Sky­lark, Ode to the West Wind, and the dra­ma Prometheus Unbound, all of which we hear Price read whole, or in part, in this playlist. And for its final four tracks, we hear famed Eng­lish stage actor Ralph Richard­son deliv­er four poems from the equal­ly endur­ing lega­cy of Shel­ley’s rough con­tem­po­rary Samuel Tay­lor Coleridge, includ­ing Kubla Khan and The Rime of the Ancient Mariner.

The vivid­ness of the imagery and the time­less res­o­nance of the themes in both poets’ work hold up well on the page, but no mat­ter how many times you’ve read it, hear­ing it inter­pret­ed by per­form­ers like Price and Richard­son can let you expe­ri­ence it in a new way. Their dra­mat­ic back­grounds empow­er them to bring out lev­els of emo­tion you might nev­er have felt in your own read­ing; cer­tain­ly Price’s world-weary yet faint­ly arch tone does well with Ozy­man­dias’ gaze-into-the-abyss evo­ca­tion of hubris, imper­ma­nence, and the ulti­mate fate in obliv­ion of all things great and small. Maybe the man who starred in The Pit and the Pen­du­lum nev­er real­ly strayed far from hor­ror after all.

The Price/Richardson read­ing will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

5 Hours of Edgar Allan Poe Sto­ries Read by Vin­cent Price & Basil Rath­bone

Watch Vin­cent, Tim Burton’s Ani­mat­ed Trib­ute to Vin­cent Price & Edgar Allan Poe (1982)

Watch Vin­cent Price Turn Into Edgar Allan Poe & Read Four Clas­sic Poe Sto­ries (1970)

Bryan Cranston Reads Shelley’s Son­net “Ozy­man­dias” in Omi­nous Teas­er for Break­ing Bad’s Last Sea­son

Learn to Write Through a Video Game Inspired by the Roman­tic Poets: Shel­ley, Byron, Keats

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch 50+ Documentaries on Famous Architects & Buildings: Bauhaus, Le Corbusier, Hadid & Many More


At its best, archi­tec­ture can show us a way out of the rigid, rou­tinized think­ing that keeps us pac­ing the same social and cul­tur­al mazes decade after decade. A rad­i­cal redesign of the way we use space can her­ald a re-imag­in­ing of our inter­re­la­tions, hier­ar­chies, and polit­i­cal dynam­ics. Con­sid­er the inspir­ing work, for exam­ple, of vision­ary futur­ist Buck­min­ster Fuller. (Or con­sid­er the very dif­fer­ent career of recent­ly depart­ed Zaha Hadid, who “built the unbuild­able,” writes one for­mer stu­dent, and “defied grav­i­ty.”) At its worst, archi­tec­ture impris­ons us, lit­er­al­ly and oth­er­wise, mind­less­ly pop­u­lat­ing the built envi­ron­ment with drab, pre­fab­ri­cat­ed box­es, and repro­duc­ing con­di­tions of repres­sion, pover­ty, and medi­oc­rity. The way we build deter­mines in great degree the way we live.

But the influ­ence of an indi­vid­ual archi­tect or school will always exceed the design­ers’ inten­tions. Per­haps the most famous of 20th cen­tu­ry mod­ern archi­tec­ture and design move­ments, Wal­ter Gropius’ Bauhaus school, con­tributed a vocab­u­lary of sim­pli­fied geo­met­ri­cal designs and pri­ma­ry col­or schemes that pushed Euro­pean aes­thet­ics out of a sti­fling tra­di­tion­al­ism.

And yet, their mod­ernist insis­tence on box­i­ness, on mate­ri­als like steel, con­crete, and glass, and on a near total lack of orna­ment, helped bring into being the strip mall and the office park. Like­wise, the urban utopi­an archi­tect Le Cor­busier delib­er­ate­ly sought to engi­neer social improve­ment through build­ing design, and also helped birth a depress­ing­ly bleak land­scape of hous­ing projects and “struc­tures that rein­force dete­ri­o­rat­ing social effects.”

So what dis­tin­guish­es good archi­tec­ture from bad? And where did the post­mod­ern mélange of styles that make up the typ­i­cal urban envi­ron­ment come from? Ask 100 archi­tects the first ques­tion, and you might get 100 dif­fer­ent answers. But you can go a long way toward answer­ing the sec­ond ques­tion by learn­ing the his­to­ry of the many great build­ings that have direct­ly or indi­rect­ly inspired mil­lions of imi­ta­tors world­wide. And you can do that for free at the Youtube chan­nel ACB (Art and Cul­ture Bureau), which fea­tures over 50 doc­u­men­taries, writes Arch Dai­ly, “devot­ed to the most sig­nif­i­cant achieve­ments of archi­tec­ture, its begin­nings, and the lat­est cre­ations of the great archi­tects of today.”

Maybe begin with the Bauhaus film, at the top of the post, an almost thir­ty-minute his­to­ry of the fas­ci­nat­ing post-WWI move­ment, school, and build­ing in Dessau, Ger­many. Be sure to also catch films on Paris’ Georges Pom­pi­dou Cen­tre, the 17th cen­tu­ry Tomb of Iti­mad-ud-Daulah (called the “baby Taj Mahal”), Le Corbusier’s Bru­tal­ist Con­vent of La Tourette, and Zaha Hadid’s Phaeno sci­ence cen­ter, among many, many more. All of the films are direct­ed by Richard Copans and some of them have inter­views with the archi­tects them­selves. See the full list of doc­u­men­taries here.

These films will be added to our list of Free Doc­u­men­taries, a sub­set of our col­lec­tion 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

via Arch Dai­ly

Relat­ed Con­tent:

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

A is for Archi­tec­ture: 1960 Doc­u­men­tary on Why We Build, from the Ancient Greeks to Mod­ern Times 

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: Gropius, Klee, Kandin­sky, Moholy-Nagy & More

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

New LSD Research Provides the First Images of the Brain on Acid, and Hints at Its Potential to Promote Creativity

Talk to near­ly any vet­er­an of six­ties coun­ter­cul­ture, and you’re bound to hear a sto­ry or three about an acid trip. Some of those trips were bad, man, full of night­mare hal­lu­ci­na­tions and severe anx­i­ety. In oth­er accounts, how­ev­er, LSD gets cred­it for open­ing up the mind, releas­ing old pat­terns of thought, and free­ing up latent cre­ative ener­gy. From Ken Kesey to R. Crumb, these sto­ries abound. Are they cred­i­ble? Now that sci­en­tists have once again begun to study the drug—first syn­the­sized in 1938 and used in exper­i­ments in the 50s and 60s until it was banned near­ly everywhere—they are find­ing con­crete answers using the lat­est in brain imag­ing tech­nol­o­gy.

LSD Scans

And it appears that LSD—-in a con­trolled lab­o­ra­to­ry set­ting at least—“can be seen as revers­ing the more restrict­ed think­ing we devel­op from infan­cy to adult­hood.” So reports The Guardian in regard to exper­i­ments recent­ly con­duct­ed by neu­rophar­ma­col­o­gist David Nutt, for­mer “drugs advi­sor” for the British gov­ern­ment. Nutt gave vol­un­teer sub­jects an injec­tion of LSD, then cap­tured the first images ever record­ed of the brain on acid. You can see dra­mat­ic ani­ma­tions of those scans in the video at the top of the post, com­par­ing the brains of test sub­jects on the drug and those on place­bo, and see some sta­t­ic images above. The study, says Nutt, “is to neu­ro­science what the Hig­gs boson was to par­ti­cle physics.” In an inter­view with Nature, he describes LSD research as a “way to study the bio­log­i­cal phe­nom­e­non that is con­scious­ness.”

What the sub­jects expe­ri­enced won’t nec­es­sar­i­ly sur­prise any­one who has been on one of those leg­endary, mind-alter­ing trips: researchers found, writes The Guardian, that “under the drug, regions [of the brain] once seg­re­gat­ed spoke to one anoth­er,” pro­duc­ing hal­lu­ci­na­tions, “feel­ings of one­ness with the world,” and “a loss of per­son­al iden­ti­ty called ‘ego dis­so­lu­tion.’” How­ev­er, pri­or to this study, Nutt says, “we didn’t know how these pro­found effects were pro­duced.” There has been pre­cious lit­tle data, because “sci­en­tists were either scared or couldn’t be both­ered to over­come the enor­mous hur­dles to get this done.”

Work­ing with the Beck­ley Foun­da­tion, which stud­ies psy­choac­tive drugs and pro­motes pol­i­cy reform, Nutt and his col­league Robert Carhart-Har­ris crowd­fund­ed their study; in the video above, you can hear them both describe the goals and ratio­nale of their research. What they even­tu­al­ly found, The Guardian reports, was that “under the influ­ence, brain net­works that deal with vision, atten­tion, move­ment and hear­ing became far more con­nect­ed, lead­ing to what looked like a ‘more uni­fied brain.’”

But at the same time, oth­er net­works broke down. Scans revealed a loss of con­nec­tions between part of the brain called the parahip­pocam­pus and anoth­er region known as the ret­ro­s­ple­nial cor­tex.

Nutt and his col­leagues have more spe­cif­ic exper­i­ments planned, he tells Nature, “to look at how LSD can influ­ence cre­ativ­i­ty, and how the LSD state mim­ics the dream state.” And just as the drug was test­ed decades ago as a ther­a­py for addic­tions and psy­chi­atric dis­or­ders, Nutt hopes he can con­duct sim­i­lar tri­als. But his research has an even larg­er scope: As Aman­da Feild­ing, direc­tor of the Beck­ley Foun­da­tion, puts it, “We are final­ly unveil­ing the brain mech­a­nisms under­ly­ing the poten­tial of LSD, not only to heal, but also to deep­en our under­stand­ing of con­scious­ness itself.” We look for­ward to Nut­t’s fur­ther research find­ings. Per­haps some­day, LSD will be avail­able with a pre­scrip­tion. Until then, it’s prob­a­bly wise not to try these exper­i­ments at home.

Relat­ed Con­tent:

Woman Takes LSD in 1956: “I’ve Nev­er Seen Such Infi­nite Beau­ty in All My Life,” “I Wish I Could Talk in Tech­ni­col­or”

Artist Draws Nine Por­traits on LSD Dur­ing 1950s Research Exper­i­ment

Ken Kesey Talks About the Mean­ing of the Acid Tests in a Clas­sic Inter­view

R. Crumb Describes How He Dropped LSD in the 60s & Instant­ly Dis­cov­ered His Artis­tic Style

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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